Wicked: Parts 1 & 2

Client
Universal Pictures

Collaborators
Framestore

Location
UK

Sector
Film & Television

Services provided
Storytelling
Filmmaking & Animation

Technology
Volumetric Capture

Nothing captures the authenticity of performance and the photorealistic details of wardrobe like volumetric capture. It’s for this reason that Wicked’s VFX teams approached Dimension, a Journey studio, to expand crowd scenes in Munchkinland and Emerald City.

How to build the crowds of Munchkinland and Emerald City

For Universal Pictures’ global blockbusters, Wicked no expense was spared on the wardrobe. So when the filmmakers wanted to extend the crowds across both Munchkinland and Emerald City in parts 1 & 2, they called Dimension, a Journey studio, to leverage our unique volumetric digital crowds pipeline.

It was important that both the care and attention put into the film’s lavish costume design, as well as the natural performances of the cast, could be presented on screen authentically, ensuring that digital crowds seamlessly blend into live-action shots.

Talking about Dimension, a Journey studio, alongside VFX studio Framestore, VFX supervisor Jonathan Fawkner said:

“Dimension Studio were brilliant to work with: they brought a huge mobile studio to the Munchkinland set and captured 60 seconds of directed performance for each of our Munchkin extras (including me!). Working from pre-approved choreography, I left them to direct the majority of the performers and we were able to import the data into our lighting pipeline, which meant we could integrate them seamlessly into varied lighting across the film.”

When you need to scale crowds in post, volumetric capture is a perfect option, offering a more efficient and cost-effective alternative to building characters with traditional VFX and animation. Wicked benefited from our industry-leading pipeline, which supports 10-bit colour and has previously been successfully used on projects including Whitney Houston: I Wanna Dance With Somebody and Those About To Die.

For both Wicked movies, Dimension, a Journey studio, used its Polymotion Truck – a mobile volumetric studio in partnership with Mark Roberts Motion Control – which travelled to Elstree Studio to capture the supporting cast while they were already in full costume and make-up. With this setup, we captured pixel-perfect 3D versions of the actors from Munchkinland and Emerald City, without them needing to move locations or revisit the costume, hair or make-up departments.

Talking about Dimension, a Journey studio’s, work alongside VFX studio Framestore, VFX supervisor Jonathan Fawkner said:

“Dimension Studio were brilliant to work with: they brought a huge mobile studio to the Munchkinland set and captured 60 seconds of directed performance for each of our Munchkin extras (including me!). Working from pre-approved choreography, I left them to direct the majority of the performers and we were able to import the data into our lighting pipeline, which meant we could integrate them seamlessly into varied lighting across the film.”

When you need to scale crowds in post, volumetric capture is a perfect option, offering a more efficient and cost-effective alternative to building characters with traditional VFX and animation. Wicked benefited from Dimension’s industry-leading pipeline, which supports 10-bit colour and has previously been successfully used on projects including Whitney Houston: I Wanna Dance With Somebody and Those About To Die.

For both Wicked movies, Dimension used its Polymotion Truck – a mobile volumetric studio in partnership with Mark Roberts Motion Control – which travelled to Elstree Studio to capture the supporting cast while they were already in full costume and make-up. With this setup, Dimension captured pixel-perfect 3D versions of the actors from Munchkinland and Emerald City, without them needing to move locations or revisit the costume, hair or make-up departments.

Over the course of two days, we volumetrically captured 76 of the supporting cast, including prop tracking the cast’s expertly-millinered hats, and then processed over 75 minutes – or 100,000 frames – of volumetric content for hand-off to the VFX team at Framestore.

Because volumetric capture provides a 3D asset, it enables the filmmakers and VFX teams complete freedom to drop performers into whatever scene they need, wherever they need them, regardless of the angle or composition of the shot. 

Wicked’s impressive visuals – including its VFX – have been applauded by audiences and critics, something backed up with leading industry award nominations.

Results